Colors in Architecture: Matter and Communication Tool

Rem Koolhaas recognizes two types of colors in architecture; ones that are linked to the rawmaterials and their natural physical appearance, and the ones that are layered on and have the abilityto change appearance. Naturally, the use of one or the other involves a different design approach. Inthe first case, the search of the architect is based on a material choice, on the specific qualitiesneeded to bring out certain aspects of the architectural project.In the case of Frank Gehry for example, the priority is the plasticity aspect along with the idea ofmovement through the use of convex, concave and angular shapes. The materials change dependingon the project, each material is chosen to emphasize the complexity of the shapes for his buildings.Mario Botta favors almost exclusively the use of visible natural materials like stone and bricks, inorder to enhance form. His choice in material is linked to the search for depth and thickness of thewall. Tadao Ando focuses his architectural design efforts on light and matter. Ando is a master inthe technique of the reinforced concrete, and it is a way for him to connect back to traditionalJapanese architecture, monochromatic with an infinite variation of shades and tones.Jean Nouvel, differently, prefers the use of the applied color. The design strategy changesdrastically as it becomes an additional part of the architectural project. In each work, Nouvelinvestigates ways to emphasize the genius loci, coming up with concepts that are able to evokeemotions through the poetic of color that “is either intensified, the monumentality of blackheightened by the stark introduction of red, or else tends towards an immateriality”. For Will Alsop,the use of color is strongly linked to his design process, developed over the years but that almostalways includes collaboration with artists. His view on architecture is similar to that of a sculptor,colors are a way to express irony and cheerfulness. When imagining the work of Norman foster,color might come as an afterthought but, in his book Norman Foster: 30 colours, one is perhapssurprised to find that the previous statement is not entirely true. Foster’s use of color is definitelymoderate and sparks an interest for where and how it will be used. Perhaps Paul Overy bestdescribes Foster’s use of color as the human component, the element of nature, opposed to theculture of materials and structure.By comparing these two uses of color it is clear to see how one is more intentional than the otherbut the results of both, for different reasons, still resonate with the observer as they both achieve thearchitect’s wish to communicate emotions.